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HOW DO YOU CELEBRATE A VIOLIN OVER 250 YEARS OLD?When the violin in question is a rare Guadagnini, handmade in 1759, you celebrate by giving it the biggest possible audience you can find.
That’s why we lent ours to the Australian Chamber Orchestra.That way, thousands of people can experience its remarkable sound. After all, an instrument this special is worth celebrating.
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C O N N E C T
S O C I A L LY We’d love to hear from you – join the conversation on Facebook, Twitter and Instagram, and stay up to date on all things ACO. Don’t forget the hashtag #ACO17.
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A C O W H AT ’ S O NA C O A C A D E M Y | F R E E E V E N T14 JULY SYDNEY
After an inspiring week of intensive rehearsals, the ACO Academy Orchestra will take to the stage for a free public concert performing music by Vivaldi, Haydn and Suk with soloist Vincent Lo. aco.com.au/acoacademy
JULY–OCTOBER 2017
M O U N TA I N N AT I O N A L T O U R3–20 AUGUST ADELAIDE, BRISBANE, CANBERRA, MELBOURNE, NEWCASTLE, PERTH, SYDNEY
An epic cinematic and musical collaboration between the ACO and BAFTA-nominated Sherpa director, Jennifer Peedom, narrated by two-time Academy Award® nominated actor Willem Dafoe. aco.com.au/mountain
A C O & J E W I S H M U S E U M AT S T K I L D A S H U L E21 AUGUST MELBOURNE
The ACO, led by Richard Tognetti, will perform for the first time at the beautiful St Kilda Synagogue, to raise funds for the Jewish Museum of Australia. trybooking.com/284915
2 0 1 7 A P P E A LSupport our National Education Program and bring the music you love to young people around Australia. aco.com.au/2017education
E M M A N U E L P A H U D30 SEPTEMBER – 13 OCTOBER BRISBANE, CANBERRA, MELBOURNE, PERTH, SYDNEY
Emmanuel Pahud, the world’s greatest living flautist is back! This program features works by JS & CPE Bach, Ravel, Debussy and more. aco.com.au/emmanuelpahud
A R C T I C T O A N T I P O D E S1–12 SEPTEMBER ADELAIDE, CANBERRA, MELBOURNE, SYDNEY, WOLLONGONG
Violinist Henning Kraggerud, the world’s leading performer of Grieg, presents his take on three of this much-loved composer’s masterworks. aco.com.au/arctictoantipodes
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Richard Evans Managing Director
M E S S A G E F R O M T H E M A N A G I N G D I R E C T O R
The Orchestra is still recovering from the high of performing the world premiere of Mountain at Sydney Opera House as part of the Sydney Film Festival and Vivid Live. The performance was a stunning success and played to a sold-out audience.
But do not fear, you haven’t missed out: Mountain is our very next subscription concert, coming to Adelaide, Brisbane, Canberra, Melbourne, Newcastle, Perth and once again in Sydney, at both City Recital Hall and the Opera House. If you haven’t got tickets, I suggest you get them right now! You won’t want to miss this one.
For this concert, Intimate Mozart, the Orchestra is pared down to just four principals: our artistic director and leader Richard Tognetti, Principal Violin Helena Rathbone, Guest Principal Viola Florian Peelman and Principal Cello Timo-Veikko ‘Tipi’ Valve, together with guest artist, pianist Kristian Bezuidenhout, one of the world’s foremost period keyboard players and who grew up on Queensland’s Gold Coast.
Kristian joins us for Mozart’s Piano Concerto No.13, which the orchestra played for the first time on tour in 2014 with Kristian for concerts in Amsterdam and Luxembourg. Kristian also joins our four principals for Schumann’s majestic Piano Quintet in E-flat major. Opening the concert is another Schumann work, his third and final string quartet. Neither of these works by Schumann has ever been performed by the Orchestra in a mainstage tour.
I do hope you enjoy this beautiful concert, and I look forward to seeing you at Mountain in August.
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Richard Tognetti Director & Violin
Kristian Bezuidenhout Piano
Helena Rathbone Violin Florian Peelman Viola Timo-Veikko Valve Cello
The Australian Chamber Orchestra reserves the right to alter scheduled artists and programs as necessary.
I N T I M AT E M O Z A R T
Approximate durations (minutes):30 – 26 – INTERVAL – 32 The concert will last approximately two hours, including a 20-minute interval.
SCHUMANN String Quartet in A major, Op.41, No.3
I. Andante espressivo – Allegro molto moderato II. Assai agitato III. Adagio molto IV. Finale: Allegro molto vivace
MOZARTPiano Concerto No.13 in C major, K.415
I. Allegro II. Andante III. Rondeau: Allegro
Interval
SCHUMANN Piano Quintet in E-flat major, Op.44
I. Allegro brillante II. In modo d’una Marcia: Un poco largamente III. Scherzo: Molto vivace IV. Allegro ma non troppo
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W H AT Y O U A R E A B O U T T O H E A R
The string quartet is like a place of worship for us string players, and the repertoire that is written for it, the scripture. That is the level of reverence afforded this medium. Studying string quartets is a lifelong endeavour, and to understand them is a privilege.
We start this concert with a Schumann string quartet – No.3 in A major, the last string quartet he wrote. The three quartets were dedicated to Felix Mendelssohn, whom Schumann admired greatly, and were a gift for Schumann’s wife, Clara, for her 23rd birthday on 13 September 1842.
There is a small void in the quartet repertoire after Beethoven and before Bartók, which is explained in part, perhaps, by the fact that many of the great romantic composers were pianist-performer-composers and not string players, as was the case with Schumann. As a result, piano chamber music was promoted more through the concerts and tours the composers themselves gave. In a time before the recording industry and radio this perhaps left some of this amazing, and equally accomplished, non-piano chamber music on the shelves of the publishers for no good reason.
In this concert, we are playing examples of both from Schumann. His Piano Quintet in E-flat major is the heart of this program, and is one of the most celebrated piano and string chamber works in the repertoire. PICTURED: Robert and Clara Schumann.
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Richard Aldrich wrote in a 1929 survey of Chamber Music that: ‘Schumann’s chamber music of 1842 is in many ways among the most perfect of all the products of his genius; the purest and most powerful in its beauty, the strongest in its form, best balanced in its substance, and best adapted in its technical means and processes to the expression of the composer’s thought. There is little that seems tentative, experimental, or uncertain in touch. He entered, to all appearances, full-fledged and confident upon the difficult and problematic art of chamber music.’
In between these two extraordinary works, is Mozart’s Piano Concerto No.13, which we are playing in its chamber music form. Even though it might be strange to think of Mozart’s piano concertos being performed as chamber music, it was not at all unusual at the time they were written. Mozart would often have to adapt his compositions for the forces available or the space in which a performance was being held in order to promote and make his music accessible to all. Mozart himself said that this concerto could be played ‘a quattro’.
He wrote to his father about Piano Concerto No.13, along with nos.11 and 12: ‘These concertos are a happy medium between what is too easy and too difficult; they are very brilliant, pleasing to the ear, and natural, without being vapid. There are passages here and there from which connoisseurs alone can derive satisfaction; but these passages are written in such a way that the less learned cannot fail to be pleased, though without knowing why.’
Timo-Veikko Valve
PICTURED: Schumann at work.
‘He entered, to all appearances, full-fledged and confident upon the difficult and problematic art of chamber music.’
Suggested listening from Tipi
EROICA QUARTET Schumann String Quartets op. 41 (Harmonia Mundi, available on Spotify)
ALEXANDER MELNIKOV / JERUSALEM STRING QUARTET Schumann Piano Quintet op. 44 (Harmonia Mundi, available on Spotify)
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A B O U TT H E M U S I C
ROBERT SCHUMANN Born Zwickau 1810. Died Endenich, 1856.
STRING QUARTET IN A MAJOR, OP.41 NO.3
Composed 1842.
I. Andante espressivo – Allegro molto moderato II. Assai agitato III. Adagio molto IV. Finale: Allegro molto vivace
Robert Schumann called the string quartet a ‘by turns beautiful and even abstrusely woven conversation among four people’. To him, the genre was venerable and worthy of deep study; he knew and revered the quartets of Haydn and Mozart, and like his contemporary and close friend Mendelssohn, he was demonstrably influenced by Beethoven’s quartets when he
PICTURED: Clara Schumann.
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wrote his own. In fact, when considered vis-à-vis his fanciful, wildly romantic output for solo piano, Schumann’s quartets appear as an astonishingly concise, contained and classical group; the ‘road map’ through each movement is crystal-clear, sometimes severely so. On the other hand, the spirit and intent which invest every note of this music bear the unmistakable stamp of Schumann the Romantic, the yearner, the impulsive.
Schumann wrote his three quartets virtually simultaneously, in a couple of summer months in 1842. It was not the easiest time of his life; married only a short time to Clara, who was one of the most celebrated pianists of her generation, he was reconciling himself to being the moon to her sun, and often living at home without her. His letters and journal entries from this year repeatedly refer to gloomy moods, fatigue, and ill health. However, the quartets contain little indication of this state, being filled with decidedly more sunlight than shadow.
The A major Quartet, which is the third of these, opens with a tender call, a downward-falling two-note motif, which is often affectionately referred to as the ‘Clara’ motif. The entire first movement bases itself on the interval of this motif, which dominates not only the hesitant, short-lived introduction, but also each of the two melodies in the main body of the
PICTURED: An 1850 daguerreotype of Robert Schumann taken by Johann Anton Völlner.
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movement. The second of these, an airborne song first heard in the cello, is accompanied by hovering, offbeat chords in the upper instruments, which seem to want to lift the melody off the ground entirely.
The second movement, a set of variations, continues the idea of ‘off the beat’, a favourite rhythmic game of Schumann’s. In this case, the ‘theme’ for the variations appears first as a series of gasps punctuated by brief silences, as if the singer were hyperventilating. Two energetic variations follow close on its heels, the first rendered in shuddering triplets, and the second in declamatory long notes alternating with scampering quick ones. Then follows a sighing Adagio variation, a kind of swaying slow dance. In this variation, we feel that we have finally gotten the original, gasping theme to stand still for a moment, so that we can at last behold the true theme of the movement, candid and vulnerable. The fourth and final variation is stern and embattled, carried onward by churning eighth-notes in the accompaniment. The movement ends with an odd coda, which wanders like a sleepwalker through various keys before settling to a standstill.
The third movement starts out with the promise of repose. In part a hymn, in part a more rhapsodic love-declaration, the music offers a grounded quality that is wholly absent in the first two movements. However, the contrasting episode that follows dissipates that illusion. Punctuated by an obsessive rhythm in the second violin, this section has a nightmarish, angst-ridden quality. Vividly, the main theme from the calmer opening of the movement reappears here, no longer consoling, but rather the agent of intensification. The movement alternates between these two moods, working itself out in a coda where some kind of a resolution is reached among lingering doubts.
The finale is a jovial round dance, a kind of rondo that cheerfully alternates three or four different sections, each section self-contained and rhythmically homogeneous. But the odd thing is that Schumann starts the movement off on the upbeat, and manages to keep the music ‘off’, or off-balance, for virtually the entire movement. So we are rustic, but perhaps a little tipsy as well. Particularly in the extended coda, where the music attempts to stay off the beat but is constantly corrected by downbeat jabs, there is a sense that the music may not quite find its feet in time for the exuberant conclusion.
Misha Amory © 2017
. . . the upper instruments seem to want to lift the melody off the ground entirely.
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WOLFGANG AMADEUS MOZART Born Salzburg, 1756. Died Vienna, 1791.
PIANO CONCERTO NO.13 IN C MAJOR, K.415
Composed 1782–3.
I. Allegro II. Andante III. Rondeau: Allegro
The sequence of Mozart’s piano concertos is so full of marvellous riches that it is difficult to imagine why he was not more successful in Vienna, having got Salzburg behind him. The problem seems to have been that Mozart’s invention was simply too much for his audiences – too rich, and too demanding. This was recognised by his colleagues: it was Dittersdorf who commented ‘He was so astonishingly rich in ideas I could only
PICTURED: Mozart c.1780 – detail from a portrait by Johann Nepomuk della Croce.
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wish he had not been so extravagant with them. He gives the listener no time to draw breath; for when one wants to ponder one beautiful idea there is another even finer one to drive the first away . . .’ Mozart didn’t start out that way in Vienna. Writing to his father in December 1782 about the first three concertos he had composed there, Mozart described them as ‘a happy medium between what is too easy and too difficult; they are brilliant, pleasing to the ear, and natural, without being vapid. There are passages here and there from which connoisseurs alone can derive satisfaction; but these passages are written in such a way that the less learned cannot fail to be pleased, though without knowing why’.
Mozart offered the three concertos for sale in January 1783, and played them in concerts in March. With an eye on the market, he indicated that these three concertos (K.413 in F K.414 in A, and K.415 in C) could be played a quattro, that is to say with accompaniment for strings only, single or multiplied, as you will hear in this concert.
The opening is very grand, and full of ideas, so much so that when the piano enters, the impression is given, as Philip Radcliffe suggests ‘of a potential symphony into which a part for piano solo has strayed’. The key of C major and the march rhythm result in what Girdlestone calls an Olympian strain which often comes into Mozart’s music in this key. Imitations and canons, not very fully developed, reflect the study of the polyphonic masters which Mozart had begun in the year 1782.
‘. . . when one wants to ponder one beautiful idea there is another even finer one to drive the first away . . .’ DITTERSDORF
PICTURED: The Mozart family. Lithographic print by Johann Nepomuk della Croce., 1856.
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PICTURED: Pianoforte by Johann Andreas Stein (Augsburg, 1775) – Berlin, Musikinstrumenten Museum.
This is conspicuous in a passage, after the opening by the string quartet, over a held ‘pedal’ note over which the viola, and first and second violins set up a contrapuntal discourse. But much of this music will not be heard again; once the piano enters (with a cadenza leading to a trill), Mozart seems to remember the limitations of his audience, and proceeds along more conventional lines. The quartet retreats into the background, but in one respect this concerto is prophetic, in giving the soloist a theme which will remain its exclusive property. This is the second subject of the movement. The imitative treatment returns in the development section, bringing one particularly attractive passage where the soloist adds a decorative counterpoint to a repetition of the main theme. After another burst of solo virtuosity, there is a brief and striking excursion into the minor mode before the first subject returns. Mozart provided a cadenza for this movement which treats the themes with energy.
The second movement has had a bad press from a few Mozart scholars, Alfred Einstein calling it one of Mozart’s least ambitious slow movements, and Girdlestone finding it completely insignificant. Mozart wrote four and a half bars of a movement in C minor, then crossed them out, no doubt abandoning the idea as too serious in character for this work, and instead used C minor in the episodes of the third movement. Since the main theme is repeated so many times, there is pleasure in how Mozart embellishes it on its returns.
The rondo is the most interesting movement. It is irregular in structure, and unpredictable, described by one critic as ‘almost a capriccio’, an expression of Mozart’s whimsicality and delight in suddenly changing moods. The main idea is a kind of gigue, followed by a couple of contrasting ideas from the quartet. Then the piano comes in, in the key of C minor, the tempo dropping to Adagio, in 2/4 time, with a poignant expressiveness. Only a brief interruption, this, to the high spirits, as the rondo themes return. The middle section, after a semi-portentous call to attention, brings great bravura from the soloist, then it plays with the quartet around the rondo theme. After this, the same idea which introduced the middle section unexpectedly brings back instead an elaborated version of the C minor episode, before a coda in which quivering figures from both soloist and orchestra take over completely, as the music waves its farewell, leaving the stage.
Adapted from a note by David Garrett © 2007
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ROBERT SCHUMANN
PIANO QUINTET IN E-FLAT MAJOR, OP.44
Composed 1842.
I. Allegro brillante II. In modo d’una Marcia: Un poco largamente III. Scherzo: Molto vivace IV. Allegro ma non troppo
Schumann’s Quintet retained a reputation for modernity right up to the end of the 19th century. Overlooking Brahms and Dvořák, a New York reviewer in 1896 claimed it was ‘still the best piece of chamber music since Beethoven’. Back in 1842, Schumann had certainly wanted it to be a model of modern chamber music. In it, by implication, he continued to wage his journalistic campaign against those ‘inartistic tendencies in the immediate past concerned merely with encouraging superficial virtuosity’,
PICTURED: Robert Schumann
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PICTURED: Clara Schumann (née Wieck) in 1838. Robert Schumann dedicated the piano quintet to Clara, and she performed the piano part in the work’s first public performance in 1843.
particularly on the piano. Pianists naturally remained inclined to pianism, but the best of them also appreciated Schumann’s reticence on this point. One virtuoso who programmed the Quintet regularly, Liszt’s pupil and son-in-law Hans von Bülow, judged it ‘not a particularly brilliant piece, but one that makes a dependable effect, and is easy to understand’; ‘not so thankful for the piano, but opportune for me . . . full of freshness and spirit’.
It continued to be a work that could be relied upon to take a ‘deep hold on the hushed audience’ (as when first played in Boston in 1853), especially when ‘rendered in a thoroughly artistic manner’ (as a reviewer judged it to be in a suburban London concert in 1870). And although this term was occasionally used with an ironic snigger, for the most part, Victorians understood ‘rendition’ much as did the original Oxford English Dictionary, as an ‘act of restoring, surrendering, yielding’.
If spiritual surrender is what Schumann expected of his executants (not least his pianist wife, Clara, to whom the work is dedicated), there was also something of the same quality – of yielding to inspiration – in the process of composition. His large works around these years were typically the result of furiously channelled effort, the First Symphony sketched in a few days and, immediately prior to the Quintet, three string quartets composed in a month. The Quintet, likewise, went from sketch to fair-copy score in just 20 days.
PICTURED: The music room at Robert and Clara Schumann’s house in Zwickau, Germany.
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The immediacy of conception, in turn, can be felt in the music itself. The propulsive upward thrust and slower fall of its concerted opening figure, charting a kinetically skewed arc, not only generates the core strength of the piece’s compact fortes, but – by means of straightforward repetition and variation – almost all its melodic material. At the opposite end of the dynamic range, and especially in the movement’s more ruminatory central episode, quaver figures from the piano restore impetus and urge the strings onward and upward again. Yet for all the exuberance, the piece’s energy is always carefully channelled, controlled.
Despite its curiously non-committal title, ‘In the mode of a march’, the minor-key second movement invokes a venerable tradition of art music imitative of state funerals – the stiff, slowish tempo, the crushed upbeats of muffled drums, even the somewhat emphysemic wheeze of muted bugles in the contrasting major-key episode that follows. A developing episode, Agitato, gradually heightens the tension. Schumann’s energetic piano triplets and tremolos from the second violin resolve into a etherealised return of the major-key episode, and a spectral pizzicato final reprise as the procession retreats into the distance.
If the second movement was essentially just a quintet amplification of the type of solo piano character piece in which Schumann had specialised for the past decade, the Scherzo is an ensemble conception through and through. It establishes from the outset – and for the first time in the work – a lively antiphony between the keyboard and strings, both sides moreover sharing exactly the same materials, rising scales opposed to rapid-fire repeated notes. Separating the Scherzo reprises are two contrasting episodes (so-called trios), the second the more ear-catching with its curious against-the-grain accents and cross-accents, as the fivesome winds up to a furious fizzing unison climax.
The finale opens off-centre in C minor. A clear reference to one of Schubert’s standard operating procedures in his string-and-piano works, the piano tune is starkly announced in simple octaves. Though repeated-note and scale figurations are recruited from the Scherzo to get the movement going, ever more concentrated contrapuntal development of the main tune increasingly drives it forward, until the fugal coda closes the circle by also bringing back into play the vaulting theme from the very opening of the Quintet.
Graeme Skinner © 2011
. . . the minor-key second movement invokes a venerable tradition of art music imitative of state funerals . . .
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K R I S T I A N B E Z U I D E N H O U TP I A N O
Kristian Bezuidenhout is one of today’s most notable and exciting keyboard artists. Born in South Africa in 1979, he began his studies in Australia, completed them at the Eastman School of Music, and now lives in London. After initial training as a pianist with Rebecca Penneys, he explored early keyboards, studying harpsichord with Arthur Haas, fortepiano with Malcolm Bilson, and continuo playing and performance practice with Paul O’Dette. Kristian first gained international recognition at the age of 21 after winning first prize, and audience prize in the Bruges Fortepiano Competition.
Kristian is a regular guest with the world’s leading ensembles including the Freiburger Barockorchester, Les Arts Florissants, Orchestra of the Age of Enlightenment, Orchestre des Champs Elysées, Koninklijk Concertgebouworkest, Chicago Symphony Orchestra, and the Leipzig Gewandhausorchester; and has guest-directed (from the keyboard) the English Concert, Orchestra of the Eighteenth Century, Tafelmusik, Collegium Vocale, Juilliard 415 and the Kammerakademie Potsdam.
He has performed with celebrated artists including John Eliot Gardiner, Philippe Herreweghe, Frans Brüggen, Trevor Pinnock, Giovanni Antonini, Jean-Guihen Queyras, Isabelle Faust, Alina Ibragimova, Rachel Podger, Carolyn Sampson, Anne Sofie von Otter, Mark Padmore and Matthias Goerne.
Kristian’s award-winning discography includes the complete keyboard music of Mozart (Diapason d’Or de L’année, Preis der Deutschen Schallplattenkritik, & Caecilia Prize); Mozart Violin Sonatas with Petra Müllejans; Mendelssohn and Mozart Piano Concertos with the Freiburger Barockorchester (ECHO Klassik); Beethoven and Mozart Lieder and Schumann Dichterliebe with Mark Padmore (Edison Award). In 2013, he was nominated as Gramophone Magazine’s Artist of the Year. Recent releases include Volume 2 of Mozart Piano Concertos with the Freiburger Barockorchester.
In the 2016/17 season, Kristian performs fortepiano concerti with the Orchestre Révolutionnaire et Romantique/Gardiner, Orchestre des Champs Elysées/Herreweghe and Il Giardino Armonico/Antonini; as harpsichord soloist with Arcangelo/Cohen (Bach Concerti); and on modern piano with the Chamber Orchestra of Europe/Haitink, Amsterdam Sinfonietta/de Vriend, and Symphonieorchester des Bayerischen Rundfunks/Labadie. Solo recitals and chamber music take him to London, New York, Tokyo, Boston, Madrid, and Innsbruck; and he will direct his first Bach St Matthew Passion with the Dunedin Consort.
Kristian had been appointed an Artistic Director of the Freiburger Barockorchester for three years from the 2017–18 season.
Photo by Marco Borggreve
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R I C H A R D T O G N E T T IA R T I S T I C D I R E C T O R & V I O L I N
‘Richard Tognetti is one of the most characterful, incisive and impassioned violinists to be heard today.’ THE DAILY TELEGRAPH (UK)
SELECT DISCOGRAPHY
AS SOLOIST:
BACH, BEETHOVEN & BRAHMS ABC Classics 481 0679
BACH Sonatas for Violin and Keyboard ABC Classics 476 5942 2008 ARIA Award Winner
BACH Violin Concertos ABC Classics 476 5691 2007 ARIA Award Winner
BACH Solo Violin Sonatas and Partitas ABC Classics 476 8051 2006 ARIA Award Winner
(All three Bach releases available as a 5CD Box set: ABC Classics 476 6168)
VIVALDI The Four Seasons BIS SACD-2103
Musica Surfica (DVD) Best Feature, New York Surf Film Festival
AS DIRECTOR:
MOZART’S LAST SYMPHONIES ABC Classics 481 2880
BACH BEETHOVEN FUGUE ABC Classics 481 4960
All available from aco.com.au/shop
Photo by Paul Henderson Kelly
Australian violinist, conductor and composer Richard Tognetti was born in Canberra and raised in Wollongong. He has established an international reputation for his compelling performances and artistic individualism.
He began his studies in his home town with William Primrose, then with Alice Waten at the Sydney Conservatorium, and Igor Ozim at the Bern Conservatory, where he was awarded the Tschumi Prize as the top graduate soloist in 1989. Later that year he led several performances of the Australian Chamber Orchestra, and that November was appointed as the Orchestra’s lead violin and, subsequently, Artistic Director. He was Artistic Director of the Festival Maribor in Slovenia from 2008 to 2015.
Richard performs on period, modern and electric instruments and his numerous arrangements, compositions and transcriptions have expanded the chamber orchestra repertoire and been performed throughout the world. As director or soloist, he has appeared with the Orchestra of the Age of Enlightenment, the Academy of Ancient Music, Slovenian Philharmonic Orchestra, Handel & Haydn Society (Boston), Hong Kong Philharmonic, Camerata Salzburg, Tapiola Sinfonietta, Irish Chamber Orchestra, Orchestre Philharmonique du Luxembourg, Nordic Chamber Orchestra and all of the Australian symphony orchestras, most recently as soloist and director with the MSO and TSO. Richard also performed the Australian premieres of Ligeti’s Violin Concerto and Lutosławski’s Partita. In November last year, he became London’s Barbican Centre’s first Artist-in-Residence at Milton Court Concert Hall.
Richard was co-composer of the score for Peter Weir’s Master and Commander: The Far Side of the World, starring Russell Crowe; he co-composed the soundtrack to Tom Carroll’s surf film Storm Surfers; and created The Red Tree, inspired by Shaun Tan’s book. He also created the documentary film Musica Surfica, as well as The Glide, The Reef, and The Crowd.
Richard was appointed an Officer of the Order of Australia in 2010. He holds honorary doctorates from three Australian universities and was made a National Living Treasure in 1999. He performs on a 1743 Guarneri del Gesù violin, lent to him by an anonymous Australian private benefactor.
Chair sponsored by the late Michael Ball am and Daria Ball, Wendy Edwards, Peter and Ruth McMullin, Andrew and Andrea Roberts
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H E L E N A R AT H B O N EV I O L I N
Helena Rathbone started the violin at the age of five with the London Suzuki group. She then went on to study at the RCM Junior department with Dona Lee Croft, and subsequently at the GSMD with David Takeno.
Before her appointment as Principal Second Violin of the ACO in 1994, she was Principal Second Violin with the European Community Chamber Orchestra and played regularly with ensembles such as the Academy of St Martin in the Fields.
In 2006, Helena was appointed Director of the ACO Collective. The Collective comprises musicians from the ACO’s Emerging Artists Program for which Helena is the orchestra representative and mentor. In her role as Principal Violin of the ACO, she also continues to perform regularly with the orchestra as a soloist and guest leader.
When not performing with the ACO, Helena has been a tutor and chamber orchestra director for the AYO at National Music Camps. She has also appeared at the Australian Festival of Chamber Music, Four Winds Bermagui, Christchurch Arts Festival, Sangat Chamber Music Festival (Mumbai) and at the Peasmarsh Festival (Sussex).
As a member of the International Musicians Seminar at Prussia Cove, Helena played in the IMS tour of the UK (led by Pekka Kuusisto) which was awarded the Royal Philharmonic Society Award for Chamber Music in 2008.
Helena has been Guest Concertmaster of many orchestras, most recently on a European tour with the Mahler Chamber Orchestra. The recordings of Beethoven’s 2nd and 4th piano concertos that the MCO made with Leif Ove Andsnes during this tour won the Concerto award and Recording of the Year award with BBC Music Magazine in 2015.
Helena lives in Sydney with her two sons and husband. She plays on a 1759 JB Guadagnini violin on loan from the Commonwealth Bank of Australia.
Chair sponsored by Kate and Daryl Dixon
Photo by Mick Bruzzese
27
F L O R I A N P E E L M A N V I O L A
Born in Sydney, Florian Peelman began violin lessons with his mother when he was five, before travelling for two years throughout Europe and Asia, spending seven months in Indonesia playing in a traditional Gamelan Orchestra. He studied with Géza Szilvay in Helsinki, before being accepted into Chethams School of Music in Manchester at 14. He continued his studies in Belgium, where he decided viola was his passion. He studied with Leo De Neve in Antwerp and Walter Küssner in Berlin at the ‘Hans Eisler’ Hochschule für Musik Berlin attaining a Master’s Degree with high distinction.
Florian is a dedicated chamber musician, having studied with the Artemis quartet at the Queen Elizabeth Chapel. He performs regularly throughout Europe and is a frequent guest of the Open Chamber Music sessions in Prussia Cove. He has been a member of the Arsis4 Quartet, the Boccherini String Trio and the European Chamber Academy.
He has played throughout Europe, performing in many of the greatest concert halls, including the Concertgebouw Amsterdam, Muziekverein Vienna, Royal Albert Hall, with such orchestras as the Mahler Jugend Orchester, the Verbier Festival Orchestra, and the Berliner Philharmoniker. He was Principal Viola of the Brussels Chamber Orchestra for two years and was Principal Viola of the Gürzenich Orchester Köln until last year. He has recently appeared as a soloist for performances of the Bruch Double Concerto, Mozart’s Sinfonia concertante, Kancheli’s Mourned by the Wind and most recently Pierre Charvet’s And death.
As soloist and chamber musician Florian has also premiered many contemporary compositions in a variety of festivals, halls, and radio broadcasts.
Other interests include conducting, coaching, and acting. While living in Belgium, Florian toured with the production Wanja. Using only live contemporary chamber music, Florian interacted with his fellow actor/musicians fusing the roles of musician, actor and puppeteer. This ground-breaking production won the 2009 ‘Jungen Ohren Preis’ for Best Children’s Music Theatre.
Florian plays on a viola by Peter Mörth.
Guest Principal Viola Chair sponsored by peckvonhartel architects
28
T I M O - V E I K K O VA LV EC E L L O
Timo-Veikko ‘Tipi’ Valve is one of the most versatile musicians of his generation performing as a soloist, chamber musician and orchestral leader on both modern and period instruments.
Tipi studied at the Sibelius Academy in his home town of Helsinki and at the Edsberg Music Institute in Stockholm, Sweden, focusing on solo performance and chamber music in both institutions.
Tipi has performed as a soloist with all major orchestras in Finland and as a chamber musician throughout Europe, Asia, Australia and the US. He works closely with a number of Finnish composers and has commissioned new works for the instrument. Most recently, Tipi has premiered concertos by Aulis Sallinen and Olli Virtaperko as well as two new cello concertos written for him by Eero Hämeenniemi and Olli Koskelin. ACO’s 2015 season included the world premiere of an arrangement of Olli Mustonen’s Sonata for cello and chamber orchestra, commissioned by Tipi and the ACO.
In 2006, Tipi was appointed Principal Cello of the Australian Chamber Orchestra with whom he frequently appears as soloist. Tipi is a founding member of Jousia Ensemble and Jousia Quartet.
For this tour, Tipi plays a 1616 Hieronymus and Antonio Amati cello kindly on loan from the ACO Instrument Fund.
Chair sponsored by Peter Weiss ao
Photo by Jack Saltmiras
29
A U S T R A L I A N C H A M B E RO R C H E S T R A
From its very first concert in November 1975, the Australian Chamber Orchestra has travelled a remarkable road. With inspiring programming, unrivalled virtuosity, energy and individuality, the Orchestra’s performances span popular masterworks, adventurous cross-artform projects and pieces specially commissioned for the ensemble.
Founded by the cellist John Painter, the ACO originally comprised just 13 players, who came together for concerts as they were invited. Today, the ACO has grown to 21 players (four part-time), giving more than 100 performances in Australia each year, as well as touring internationally: from red-dust regional centres of Australia to New York night clubs, from Australian capital cities to the world’s most prestigious concert halls, including Amsterdam’s Concertgebouw, London’s Wigmore Hall, Vienna’s Musikverein, New York’s Carnegie Hall, Birmingham’s Symphony Hall and Frankfurt’s Alte Oper.
Since the ACO was formed in 1975, it has toured Indonesia, Singapore, Thailand, Malaysia, Hong Kong, Japan, New Zealand, Italy, France, Austria, Switzerland, England, Belgium, The Netherlands, Germany, China, Greece, the US, Scotland, Chile, Argentina, Croatia, the former Yugoslavia, Slovenia, Brazil, Uruguay, New Caledonia, Czech Republic, Slovak Republic, Spain, Luxembourg, Macau, Taiwan, Estonia, Canada, Poland, Puerto Rico and Ireland.
The ACO’s dedication and musicianship has created warm relationships with such celebrated soloists as Emmanuel Pahud, Steven Isserlis, Dawn Upshaw, Imogen Cooper, Christian Lindberg, Joseph Tawadros, Melvyn Tan and Pieter Wispelwey. The ACO is renowned for collaborating with artists from diverse genres, including singers Tim Freedman, Neil Finn, Katie Noonan, Paul Capsis, Danny Spooner and Barry Humphries, and visual artists Michael Leunig, Bill Henson, Shaun Tan and Jon Frank.
The ACO has recorded for the world’s top labels. Recent recordings have won three consecutive ARIA Awards, and documentaries featuring the ACO have been shown on television worldwide and won awards at film festivals on four continents.
Richard Tognetti Artistic Director & Violin Helena Rathbone Principal Violin Satu Vänskä Principal Violin Glenn Christensen Violin Aiko Goto Violin Mark Ingwersen Violin Ilya Isakovich Violin Liisa Pallandi Violin Maja Savnik Violin Ike See Violin Nicole Divall Viola Timo-Veikko Valve Principal Cello Melissa Barnard Cello Julian Thompson Cello Maxime Bibeau Principal Bass
PART-TIME MUSICIANS
Zoë Black Violin Thibaud Pavlovic-Hobba Violin Caroline Henbest Viola Daniel Yeadon Cello
‘If there’s a better chamber orchestra in the world today, I haven’t heard it.’ THE GUARDIAN (UK)
30
A C O B E H I N D T H E S C E N E SBOARD
Guido Belgiorno-Nettis am Chairman
Liz Lewin Deputy
Bill Best John Borghetti ao Judy Crawford John Kench Anthony Lee James Ostroburski Heather Ridout ao Carol Schwartz am Julie Steiner John Taberner Nina Walton Peter Yates am Simon Yeo
ARTISTIC DIRECTORRichard Tognetti ao
ADMINISTRATIVE STAFF
EXECUTIVE OFFICE
Richard Evans Managing Director
Alexandra Cameron-Fraser Chief Operating Officer
Katie Henebery Executive Assistant to Mr Evans and Mr Tognetti ao & HR Officer
ARTISTIC OPERATIONS
Luke Shaw Director of Artistic Operations
Anna Melville Artistic Administrator
Lisa Mullineux Tour Manager
Ross Chapman Touring & Production Coordinator
Nina Kang Travel Coordinator
Bernard Rofe Librarian
Cyrus Meurant Assistant Librarian
Joseph Nizeti Multimedia, Music Technology & Artistic Assistant
EDUCATION
Phillippa Martin ACO Collective & ACO Virtual Manager
Vicki Norton Education Manager
Caitlin Gilmour Education Coordinator
FINANCE
Fiona McLeod Chief Financial Officer
Yvonne Morton Financial Accountant & Analyst
Dinuja Kalpani Transaction Accountant
Samathri Gamaethige Business Analyst
DEVELOPMENT
Anna McPherson Director of Corporate Partnerships
Jill Colvin Director of Philanthropy
Yeehwan Yeoh Investor Relations Manager
Lillian Armitage Capital Campaign Executive
David Herrero Events Manager
Tom Carrig Corporate Partnerships Manager
Camille Comtat Corporate Partnerships Executive
Sally Crawford Patrons Manager
Max Stead Development Executive
Kay-Yin Teoh Corporate Partnerships Administrator
Belinda Partyga Researcher
MARKETING
Antonia Farrugia Director of Marketing
Caitlin Benetatos Communications Manager
Rory O’Maley Digital Marketing Manager
Cristina Maldonado Marketing & Communications Executive
Ann Chen Marketing Coordinator
Hilary Shrubb Publications Editor
Dean Watson Customer Relations & Access Manager
Colin Taylor Ticketing Sales & Operations Manager
Christina Holland Office Administrator
Robin Hall Archival Administrator
AUSTRALIAN CHAMBER ORCHESTRA
ABN 45 001 335 182
Australian Chamber Orchestra Pty Ltd is a not-for-profit company registered in NSW.
In Person Opera Quays, 2 East Circular Quay, Sydney NSW 2000
By Mail PO Box R21, Royal Exchange NSW 1225
Telephone (02) 8274 3800 Box Office 1800 444 444
Email [email protected] Web aco.com.au
31
V E N U E S U P P O R T
In case of emergencies…
Please note, all venues have emergency action plans. You can call ahead of your visit to the venue and ask for details. All Front of House staff at the venues are trained in accordance with each venue’s plan and, in the event of an emergency, you should follow their instructions. You can also use the time before the concert starts to locate the nearest exit to your seat in the venue.
ADELAIDE TOWN HALL
128 King William Street,
Adelaide SA 5000
GPO Box 2252,
Adelaide SA 5001
Venue Hire Information
Telephone (08) 8203 7590
Email [email protected]
Web adelaidetownhall.com.au
Martin Haese Lord Mayor
Mark Goldstone Chief Executive Officer
SYDNEY OPERA HOUSE
Bennelong Point
GPO Box 4274, Sydney NSW 2001
Telephone (02) 9250 7111
Box Office (02) 9250 7777
Email [email protected]
Web sydneyoperahouse.com
Nicholas Moore
Chair, Sydney Opera House Trust
Louise Herron am Chief Executive Officer
WOLLONGONG TOWN HALL
Wollongong Town Hall is managed by
Merrigong Theatre Company
Crown & Kembla Streets,
Wollongong NSW 2500
PO Box 786, Wollongong NSW 2520
Telephone (02) 4224 5959
Email [email protected]
Web wollongongtownhall.com.au
CITY RECITAL HALL LIMITED
2–12 Angel Place
Sydney NSW 2000
Administration (02) 9231 9000
Box Office (02) 8256 2222
Web www.cityrecitalhall.com
Renata Kaldor ao Chair, Board of Directors
Elaine Chia CEO
PERTH CONCERT HALL
5 St Georges Terrace,
Perth WA 6000
PO Box 3041,
East Perth WA 6892
Telephone (08) 9231 9900
Web perthconcerthall.com.au
Brendon Ellmer General Manager
GRAND VENUES OF NEWCASTLE
CITY HALL
Owned and operated by the City of Newcastle
290 King Street,
Newcastle NSW 2300
Telephone (Venue & Event Coordinators)
(02) 4974 2996
Ticketek Box Office (02) 4929 1977
Email [email protected]
MELBOURNE RECITAL CENTRE
31 Sturt Street, Southbank,
Victoria 3006
Telephone +613 9699 3333
Email [email protected]
Web melbournerecital.com.au
Kathryn Fagg Chair
Euan Murdoch CEO
AustralianNationalUniversity
AUSTRALIAN NATIONAL UNIVERSITY
Llewellyn Hall School of Music
William Herbert Place
(off Childers Street),
Acton, Canberra
VENUE HIRE INFORMATION
Telephone (02) 6125 2527
Email [email protected]
32
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OPERATING IN SYDNEY, MELBOURNE, CANBERRA, BRISBANE, ADELAIDE, PERTH, HOBART & DARWINOVERSEAS OPERATIONS:New Zealand — Wellington: Playbill (NZ) Limited, Level 1, 100 Tory Street, Wellington, New Zealand 6011; (64 4) 385 8893, Fax (64 4) 385 8899. Auckland: PO Box 112187, Penrose, Auckland 1642; Mt Smart Stadium, Beasley Avenue, Penrose, Auckland; (64 9) 571 1607, Fax (64 9) 571 1608, Mobile 6421 741 148, Email: [email protected]. UK: Playbill UK Limited, C/- Everett Baldwin Barclay Consultancy Services, 35 Paul Street, London EC2A 4UQ; (44) 207 628 0857, Fax (44) 207 628 7253. Hong Kong: Playbill (HK) Limited, C/- Fanny Lai, Rm 804, 8/F Eastern Commercial Centre, 397 Hennessey Road, Wanchai HK 168001 WCH 38; (852) 2891 6799, Fax (852) 2891 1618. Malaysia: Playbill Malaysia Sdn Bhn, C/- Peter I.M. Chieng & Co., No.2 – E (1st Floor) Jalan SS 22/25, Damansara Jaya, 47400 Petaling Jaya, Selangor Darul Ehsan; (60 3) 7728 5889, Fax (60 3) 7729 5998. Singapore: Playbill (HK) Limited, C/- HLB Loke Lum Consultants Pte Ltd, 110 Middle Road #05-00 Chiat Hong Building, Singapore 188968; (65) 6332 0088, Fax (65) 6333 9690. South Africa: Playbill (South Africa) (Proprietary) Limited, C/- HLB Barnett Chown Inc., Bradford House, 12 Bradford Road, Bedfordview, SA 2007; (27) 11856 5300, Fax (27) 11856 5333.
Head Office: Suite A, Level 1, Building 16, Fox Studios Australia, Park Road North, Moore Park NSW 2021PO Box 410, Paddington NSW 2021Telephone: +61 2 9921 5353 Fax: +61 2 9449 6053 E-mail: [email protected] Website: www.playbill.com.au
Chairman & Advertising Director Brian Nebenzahl OAM RFD
Managing Director Michael Nebenzahl Editorial Director Jocelyn Nebenzahl Manager — Production — Classical Music David Cooper
This is a PLAYBILL / SHOWBILL publication.Playbill Proprietary Limited / Showbill Proprietary Limited ACN 003 311 064 ABN 27 003 311 064
This publication is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, resold, hired out or otherwise circulated without the publisher’s consent in writing. It is a further condition that this publication shall not be circulated in any form of binding or cover other than that in which it was published.
I N T I M AT E M O Z A R TT O U R D AT E S & P R E- C O N C E R T TA L K S
Pre-concert talks take place 45 minutes before the start of every concert.
Please share our concert program with your companion/s, where possible – one between two. Our programs are also available on our website for download.
Sat 24 Jun, 6.45pm Newcastle Town Hall
Pre-concert talk by Ken Healey am
Mon 26 Jun, 6.45pm Melbourne Recital Centre
Pre-concert talk by Robert Murray
Tue 27 Jun, 6.45pm Adelaide Town Hall
Pre-concert talk by Eugene Ragghianti
Wed 28 Jun, 6.45pm Perth Concert Hall
Pre-concert talk by Marilyn Phillips
Sat 1 Jul, 7.15pm Canberra – Llewellyn Hall
Pre-concert talk by Ken Healey am
Mon 3 Jul, 6.45pm Wollongong Town Hall
Pre-concert talk by Ken Healey am
Tue 4 Jul, 7.15pm Sydney – City Recital Hall
Pre-concert talk by Francis Merson
Wed 5 Jul, 6.15pm Sydney – City Recital Hall
Pre-concert talk by Francis Merson
Fri 7 Jul, 12.45pm Sydney – City Recital Hall
Pre-concert talk by Francis Merson
Sat 8 Jul, 6.15pm Sydney – City Recital Hall
Pre-concert talk by Francis Merson
Sun 9 Jul, 1.15pm Sydney Opera House
Pre-concert talk by Liisa Pallandi
Pre-concert speakers are subject to change.
33
A C O B E Q U E S T P AT R O N S
The late Charles Ross Adamson
The late Kerstin Lillemor Andersen
The late Mrs Sybil Baer
The Estate of Prof. Janet Carr
The late Mrs Moya Crane
The late Colin Enderby
The late Neil Patrick Gillies
The late John Nigel Holman
The late Dr S W Jeffrey am
The Estate of Pauline Marie Johnston
The late Mr Geoff Lee am oam
The late Shirley Miller
The late Josephine Paech
The late Richard Ponder
The late Mr Geoffrey Francis Scharer
The Estate of Scott Spencer
The ACO would like to thank the following people, who remembered the Orchestra in their wills.
Please consider supporting the future of the ACO with a gift in your will. For more information on making a bequest, please call Jill Colvin, Director of Philanthropy, on 02 8274 3835.
IBM
Mr Robert Albert ao & Mrs Libby Albert
Mr Guido Belgiorno-Nettis am
Mrs Barbara Blackman ao
Mrs Roxane Clayton
Mr David Constable am
Mr Martin Dickson am & Mrs Susie Dickson
Dr John Harvey ao
Mrs Alexandra Martin
Mrs Faye Parker
Mr John Taberner & Mr Grant Lang
Mr Peter Weiss ao
A C O L I F E P AT R O N S
A C O M E D I C I P R O G R A MIn the time-honoured fashion of the great Medici family, the ACO’s Medici Patrons support individual players’ Chairs and assist the Orchestra to attract and retain musicians of the highest calibre.
MEDICI PATRON
The late Amina Belgiorno-Nettis
PRINCIPAL CHAIRS
Richard Tognetti ao
Artistic Director & Lead Violin
The late Michael Ball ao & Daria Ball
Wendy Edwards
Peter & Ruth McMullin
Andrew & Andrea Roberts
Helena Rathbone
Principal Violin
Kate & Daryl Dixon
Satu Vänskä
Principal Violin
Kay Bryan
Principal Viola
peckvonhartel architects
Timo-Veikko Valve
Principal Cello
Peter Weiss ao
Maxime Bibeau
Principal Double Bass
Darin Cooper Foundation
CORE CHAIRS
VIOLIN
Glenn Christensen
Terry Campbell ao & Christine Campbell
Aiko Goto
Anthony & Sharon Lee Foundation
Mark Ingwersen
Julie Steiner & Judyth Sachs
Ilya Isakovich
The Humanity Foundation
Liisa Pallandi
The Melbourne Medical Syndicate
Maja Savnik
Alenka Tindale
Ike See
Di Jameson
VIOLA
Ripieno Viola
Philip Bacon am
Nicole Divall
Ian Lansdown
CELLO
Melissa Barnard
Martin Dickson am & Susie Dickson
Julian Thompson
The Grist & Stewart Families
ACO COLLECTIVE
Pekka Kuusisto
Artistic Director & Lead Violin
Horsey Jameson Bird
GUEST CHAIRS
Brian Nixon
Principal Timpani
Mr Robert Albert ao & Mrs Libby Albert
FRIENDS OF MEDICI
Mr R. Bruce Corlett am &
Mrs Annie Corlett am
34
A C O E X C E L L E N C E F U N D P AT R O N S
K Chisholm
Dr Jane Cook
Paul & Roslyn Espie
Robert & Jennifer Gavshon
M Generowicz
Dr Roy & Gail Geronemus
The Hadfield Family
Paul & Gail Harris
Doug Hooley
Mike & Stephanie Hutchinson
Geoff & Denise Illing
Professor Anne Kelso ao
Macquarie Group Foundation
Kevin & Deidre McCannBaillieu Myer ac
Gina Olayiwola
Elisabeth & Doug Scott
David Shannon
J Skinner
Christina Scala & David Studdy
Dr Jason Wenderoth
Anonymous (5)
ACO Excellence Fund Patrons assist with the ACO’s general operating costs. Their contributions enhance both our artistic vitality and ongoing sustainability. For more information, please call Sally Crawford, Patrons Manager, on 02 8274 3830.
A C O C O N T I N U O C I R C L E
Steven Bardy
Ruth Bell
David Beswick
Dr Catherine Brown-Watt & Mr Derek Watt
Sandra Cassell
Mrs Sandra Dent
Peter Evans
Carol Farlow
Suzanne Gleeson
Lachie Hill
David & Sue Hobbs
Penelope Hughes
Toni Kilsby & Mark McDonald
Mrs Judy Lee
Selwyn M Owen
Michael Ryan & Wendy Mead
Ian & Joan Scott
Cheri Stevenson
Leslie C Thiess
Ngaire Turner
G.C. & R. Weir
Margaret & Ron Wright
Mark Young
Anonymous (14)
The ACO would like to thank the following people who are generously remembering the ACO in their wills. If you are interested in finding out more about making such a bequest, please contact Jill Colvin, Director of Philanthropy, on 02 8274 3835 for more information. Every gift makes a difference.
A C O R E C O N C I L I AT I O N C I R C L EContributions to the ACO Reconciliation Circle directly support ACO music education activities for Aboriginal and Torres Strait Islander students, with the aim to build positive and effective partnerships between Aboriginal and Torres Strait Islander peoples and the broader Australian community. To find out more about becoming a member of the Circle, please contact Jill Colvin, Director of Philanthropy, on 02 8274 3835.
Colin & Debbie Golvan Peter & Ruth McMullin
Kerry Landman Sam Ricketson & Rosie Ayton
Clare Ainsworth Herschell
Lucinda Bradshaw
Justine Clarke
Este Darin-Cooper & Chris Burgess
Amy Denmeade
Catherine & Sean Denney
Jenni Deslandes & Hugh Morrow
Mandy Drury
Anthony Frith & Amanda Lucas-Frith
Alexandra Gill
Rebecca Gilsenan & Grant Marjoribanks
Adrian & Monica Giuffre
Aaron Levine & Daniela Gavshon
Royston Lim
Gabriel Lopata
Rachael McVean
Carina Martin
Barry Mowzsowski
James Ostroburski
Nicole Pedler & Henry Durack
Michael Radovnikovic
Jessica Read
Louise & Andrew Sharpe
Emile & Caroline Sherman
Michael Southwell
Helen Telfer
Karen & Peter Tompkins
Joanna Walton
Nina Walton & Zeb Rice
Peter Wilson & James Emmett
John Winning Jr.
ACO Next is an exciting philanthropic program for young supporters, engaging with Australia’s next generation of great musicians while offering unique musical and networking experiences. For more information, please call Sally Crawford, Patrons Manager, on 02 8274 3830.
MEMBERS
A C O N E X T
35
Peter Weiss ao
PATRON, ACO Instrument Fund
BOARD MEMBERS
Bill Best (Chairman)
Jessica Block
John Leece am
Julie Steiner
John Taberner
PATRONS
VISIONARY $1m+
Peter Weiss ao
LEADER $500,000 – $999,999
CONCERTO $200,000 – $499,999
The late Amina Belgiorno-Nettis
Naomi Milgrom ao
OCTET $100,000 – $199,999
John Taberner
QUARTET $50,000 – $99,999
John Leece am & Anne Leece
Anonymous
SONATA $25,000 – $49,999
ENSEMBLE $10,000 – $24,999
Leslie & Ginny Green
Peter J Boxall ao & Karen Chester
Leslie C. Thiess
SOLO $5,000 – $9,999
PATRON $500 – $4,999
Michael Bennett & Patti Simpson
Leith & Darrel Conybeare
Dr Jane Cook
Geoff & Denise Illing
Luana & Kelvin King
Jane Kunstler
John Landers & Linda Sweeny
Genevieve Lansell
Bronwyn & Andrew Lumsden
Patricia McGregor
Trevor Parkin
Elizabeth Pender
Robyn Tamke
Anonymous (2)
INVESTORS
Stephen & Sophie Allen
John & Deborah Balderstone
Guido & Michelle Belgiorno-Nettis
Bill Best
Benjamin Brady
Sam Burshtein & Galina Kaseko
Carla Zampatti Foundation
Sally Collier
Michael Cowen & Sharon Nathani
Marco D’Orsogna
Dr William Downey
Garry & Susan Farrell
Gammell Family
Edward Gilmartin
Tom & Julie Goudkamp
Philip Hartog
Peter & Helen Hearl
Brendan Hopkins
Angus & Sarah James
Daniel & Jacqueline Phillips
Ryan Cooper Family Foundation
Andrew & Philippa Stevens
Dr Lesley Treleaven
Ian Wallace & Kay Freedman
The ACO has established its Instrument Fund to offer patrons and investors the opportunity to participate in the ownership of a bank of historic stringed instruments. The Fund’s first asset is Australia’s only Stradivarius violin, now on loan to Satu Vänskä, Principal Violin. The Fund’s second asset is the 1714 Joseph Guarneri filius Andreæ violin, the ‘ex Isolde Menges’, now on loan to Violinist Maja Savnik. The Fund’s third asset is the 1616 ‘ex-Fleming’ Antonio and Hieronymus Amati Cello, played in this concert by Principal Cello Timo-Veikko Valve. For more information, please call Yeehwan Yeoh, Investor Relations Manager on 02 8274 3878.
A C O I N S T R U M E N T F U N D
A C O T R U S T S & F O U N D AT I O N S
Holmes à Court Family Foundation The Ross Trust
36
A C O S P E C I A L P R O J E C T SSPECIAL COMMISSIONS PATRONS
Peter & Cathy Aird
Gerard Byrne & Donna O’Sullivan
Mirek Generowicz
Peter & Valerie Gerrand
G Graham
Anthony & Conny Harris
Rohan Haslam
John Griffiths & Beth Jackson
Lionel & Judy King
Bruce Lane
David & Sandy Libling
Tony Jones & Julian Liga
Robert & Nancy Pallin
Deborah Pearson
Alison Reeve
Dr Suzanne M Trist
Team Schmoopy
Rebecca Zoppetti Laubi
Anonymous (1)
INTERNATIONAL TOUR PATRONS
The ACO would like to pay tribute to
the following donors who support our
international touring activities:
Mr Robert Albert ao & Mrs Libby Albert
Linda & Graeme Beveridge
Kay Bryan
Stephen & Jenny Charles
Anthony & Sharon Lee Foundation
Ann Gamble Myer
Daniel & Helen Gauchat
Yvonne von Hartel am & Robert Peck am
peckvonhartel architects
Doug Hooley
Janet Holmes à Court
Bruce & Jenny Lane
Delysia Lawson
John Leece
Julianne Maxwell
Jim & Averill Minto
Alf Moufarrige
Angela Roberts
Friends of Jon & Caro Stewart
Mike Thompson
Peter Weiss ao
MOUNTAIN PRODUCERS’ SYNDICATE
Executive Producer
Martyn Myer ao
Major Producers
Janet Holmes à Court ac
Warwick & Ann Johnson
Producers
Richard Caldwell
Warren & Linda Coli
Anna Dudek & Brad Banducci
Wendy Edwards
David Friedlander
Tony & Camilla Gill
John & Lisa Kench
Charlie & Olivia Lanchester
Rob & Nancy Pallin
Andrew & Andrea Roberts
Peter & Victoria Shorthouse
Alden Toevs & Judi Wolf
Supporters
Andrew Abercrombie
Joanna Baevski
Ann Gamble Myer
Gilbert George
Charles & Cornelia Goode Foundation
Charles & Elizabeth Goodyear
Phil & Rosie Harkness
Peter & Janette Kendall
Andy Myer & Kerry Gardner
Sid & Fiona Myer
Allan Myers ac
The Penn Foundation
Peppertree Foundation
The Rossi Foundation
Mark Stanbridge
Kim Williams am
Peter & Susan Yates
Anonymous (2)
JEWISH MUSEUM PATRONS
LEAD PATRON PATRONS
Marc Besen ac &
Eva Besen ao
SUPPORTERS
The Ostroburski Family
Julie Steiner
FRIEND
Leo & Mina Fink Fund
EMANUEL SYNAGOGUE PATRONS
CORPORATE PARTNERS
Adina Apartment Hotels
Meriton Group
LEAD PATRON
The Narev Family
PATRONS
David Gonski ac
Leslie & Ginny Green
The Sherman Foundation
Justin Phillips & Louise Thurgood-Phillips
ACO COLLECTIVE QUEENSLAND REGIONAL TOUR
Lead Patrons
Philip Bacon am
Andrew Clouston
Dr Ian Frazer ac & Mrs Caroline Frazer
Urbane Restaurant Group
Patrons
Cass George
Shay O’Hara Smith
In memory of Lady Maureen Schubert –
Marie-Louise Theile & Felicity Schubert
Syd Williams qc
ACO UK SUPPORTERS
Ambassadors
Brendan & Bee Hopkins
Friends
John & Kate Corcoran
Hugo & Julia Heath
John Taberner
Patricia Thomas
Supporters
John Coles
Isla Baring
37
EMERGING ARTISTS & EDUCATION PATRONS $10,000 +
Mr Robert Albert ao & Mrs Libby Albert
Geoff Alder
Australian Communities Foundation
– Ballandry Fund
Steven Bardy & Andrew Patterson
The Belalberi Foundation
Guido Belgiorno-Nettis am & Michelle
Belgiorno-Nettis
Anita & Luca Belgiorno-Nettis Foundation
Helen Breekveldt
Rod Cameron & Margaret Gibbs
Michael & Helen Carapiet
Stephen & Jenny Charles
Rowena Danziger am & Ken Coles am
Irina Kuzminsky & Mark Delaney
Eureka Benevolent Foundation
Mr & Mrs Bruce Fink
Dr Ian Frazer ac & Mrs Caroline Frazer
Ann Gamble Myer
Daniel & Helen Gauchat
Kimberley Holden
Di Jameson
John & Lisa Kench
Miss Nancy Kimpton
Liz & Walter Lewin
Andrew Low
Anthony & Suzanne Maple-Brown
Jim & Averill Minto
Louise & Martyn Myer Foundation
Jennie & Ivor Orchard
James Ostroburski
Bruce & Joy Reid Trust
Andrew & Andrea Roberts
Mark & Anne Robertson
Margie Seale & David Hardy
Rosy Seaton & Seumas Dawes
Tony Shepherd ao
Anthony Strachan
Leslie C. Thiess
David & Julia Turner
Shemara Wikramanayake
Libby & Nick Wright
E Xipell
Peter Yates am & Susan Yates
Peter Young am & Susan Young
Anonymous (4)
DIRETTORE $5,000 – $9,999
The Abercrombie Family Foundation
Jon & Cheyenne Adgemis
Geoff Ainsworth & Jo Featherstone
Peter Atkinson
Will & Dorothy Bailey Charitable Gift
Veronika & Joseph Butta
Darrel & Leith Conybeare
Suellen and Ron Enestrom
Bridget Faye am
JoAnna Fisher & Geoff Weir
Kay Giorgetta
Louise Gourlay oam
Warren Green
Liz Harbison
Annie Hawker
Insurance Group Australia Limited
I Kallinikos
Kerry Landman
Anthony & Sharon Lee Foundation
In memory of Dr Peter Lewin
Lorraine Logan
Macquarie Group Foundation
David Maloney & Erin Flaherty
P J Miller
James Ostroburski & Leo Ostroburski
Kenneth Reed am
John Rickard
Paul Schoff & Stephanie Smee
& Friends
Greg Shalit & Miriam Faine
Peter & Victoria Shorthouse
Sky News Australia
Petrina Slaytor
Jeanne-Claude Strong
Alenka Tindale
Ivan Wheen
Simon & Amanda Whiston
Cameron Williams
Hamilton Wilson
Woods Foundation
Anonymous (4)
The ACO pays tribute to all of our generous donors who have contributed to our National Education Program, which focuses on the development of young Australian musicians. This initiative is pivotal in securing the future of the ACO and the future of music in Australia. We are extremely grateful for the support that we receive.
If you would like to make a donation or bequest to the ACO, or would like to direct your support in other ways, please contact Jill Colvin on (02) 8274 3835 or [email protected]
Donor list current as at 1 June 2017.
A C O N AT I O N A L E D U C AT I O N P R O G R A M
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MAESTRO $2,500 – $4,999
Jennifer Aaron
Annette Adair
David & Rae Allen
Brad Banducci & Anna Dudek
DG & AR Battersby
Beeren Foundation
Mr & Mrs Daniel Besen
Neil & Jane Burley
The Hon Alex Chernov ac qc &
Mrs Elizabeth Chernov
Caroline & Robert Clemente
Carol & Andrew Crawford
Anne & Tom Dowling
Ari & Lisa Droga
Maggie & Lachlan Drummond
Cass George
John & Jenny Green
Nereda Hanlon & Michael Hanlon am
Peter & Helen Hearl
Ros Johnson
Peter Lovell
Jennifer Senior & Jenny McGee
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Nola Nettheim
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OneVentures
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Ruth & Ralph Renard
Mrs Tiffany Rensen
Fe & Don Ross
Maria Sola
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John & Josephine Strutt
Susan Thacore
Nicky Tindill
Ralph Ward-Ambler am & Barbara
Ward-Ambler
Westpac Group
Dr Mark & Mrs Anna Yates
Don & Mary Ann Yeats
Professor Richard Yeo
William & Anne Yuille
Anonymous (5)
VIRTUOSO $1,000 – $2,499
Barbara Allan
Jane Allen
Andrew Andersons
Adrienne Basser
Robin Beech
Jessica Block
Dr David & Mrs Anne Bolzonello
In memory of Peter Boros
Brian Bothwell
Vicki Brooke
Diana Brookes
Dr Catherine Brown-Watt psm &
Mr Derek Watt
Sally Bufé
Ian and Brenda Campbell
Terry Campbell ao & Christine Campbell
Ray Carless & Jill Keyte
Ann Cebon-Glass
Patrick Charles
Dr Peter Clifton
Angela & John Compton
R & J Corney
Peter & Penny Curry
Ian Davis & Sandrine Barouh
Michael & Wendy Davis
Martin Dolan
Dr William F Downey
Pamela Duncan
Emeritus Professor Dexter Dunphy am
Wendy Edwards
Dr Linda English
Peter Evans
Julie Ewington
Elizabeth Finnegan
Michael Fogarty
Don & Marie Forrest
Chris & Tony Froggatt
Anne & Justin Gardener
M Generowicz
Brian Goddard
Jennifer Hershon
Christopher Holmes
Doug Hooley
Michael Horsburgh am & Beverley
Horsburgh
Merilyn & David Howorth
Penelope Hughes
Professor Emeritus Andrea Hull ao
Sue Hunt
John Griffiths & Beth Jackson
Owen James
Anthony Jones & Julian Liga
Brian Jones
Bronwen L Jones
Mrs Angela Karpin
Josephine Key & Ian Breden
Airdrie Lloyd
Gabriel Lopata
Diana Lungren
Garth Mansfield oam &
Margaret Mansfield oam
Mr & Mrs Greg & Jan Marsh
Jane Tham & Philip Maxwell
Ian & Pam McGaw
In memory of Rosario Razon Garcia
Helen & Phil Meddings
Barry Novy & Susan Selwyn
Paul O’Donnell
L Parsonage
Dr S M Richards am & Mrs M R Richards
Em Prof A W Roberts am
Julia Champtaloup & Andrew Rothery
Richard & Sandra Royle
J Sanderson
In Memory of H. St. P. Scarlett
Lucille Seale
Mr John Sheahan qc
Dr Peter & Mrs Diana Southwell-Keely
39
Keith Spence
Jim & Alice Spigelman
Harley Wright & Alida Stanley
Ross Steele am
In memory of Dr Warwick Steele
Caroline Storch
Andrew Strauss
Charles Su & Emily Lo
David & Judy Taylor
Rob & Kyrenia Thomas
Anne Tonkin
Ngaire Turner
Kay Vernon
Jason Wenderoth
M White
Rebecca Zoppetti Laubi
Anonymous (19)
CONCERTINO $500 - $999
Juliet Ashworth
Elsa Atkin am
Ms Rita Avdiev
David Blight & Lisa Maeorg
A & M Barnes
In memory of Hatto Beck
Mrs Kathrine Becker
Ruth Bell
Lynne & Max Booth
Debbie Brady
Denise Braggett
Mrs Ann Bryce
Mrs Pat Burke
Alberto Calderon-Zuleta
Connie Chaird
Angela & Fred Chaney
Colleen & Michael Chesterman
Richard & Elizabeth Chisholm
Stephen Chivers
ClearFresh Water
Sally Collier
P Cornwell & Cecilia Rice
Annabel Crabb
Nevarc Inc.
John Curotta
Sharlene & Steve Dadd
Marie Dalziel
Mari Davis
Mrs Sandra Dent
In Memory of Raymond Dudley
M T & R L Elford
Leigh Emmett
Agnes Fan
Penelope & Susan Field
Jean Finnegan & Peter Kerr
Susan Freeman
Louisa Geddes
Paul Gibson & Gabrielle Curtin
Paul Greenfield & Kerin Brown
Annette Gross
Kevin Gummer & Paul Cummins
Hamiltons Commercial Interiors
Lesley Harland
Sandra Haslam
Gaye Headlam
Kingsley Herbert
Dr Penny Herbert in memory of
Dunstan Herbert
Dr Marian Hill
Sue & David Hobbs
Chloe Hooper
Dr & Mrs Michael Hunter
Robert & Margaret Jackson
Barry Johnson & Davina Johnson oam
Caroline Jones
Bruce & Natalie Kellett
Lionel & Judy King
Prof Kerry Landman
Genevieve Lansell
Kwong Lee Dow
Irene Ryan & Dean Letcher qc
Megan Lowe
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JA McKernan
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Louise Miller
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G & A Nelson
Robyn Nicol
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Anonymous
Robin Pease
Ian Penboss
Elizabeth Pender
Kevin Phillips
Michael Power
Beverly & Ian Pryer
Mandie & Andrew Purcell
Jennifer Rankin
Jedd Rashbrooke
Jennifer Royle
Trish & Richard Ryan ao
Garry E Scarf & Morgie Blaxill
Carol Schwartz am & Alan Schwartz am
The Sherman Foundation
Cheri Stevenson
Douglas Sturkey cvo am
In memory of Dr Aubrey Sweet
Gabrielle Tagg
Simon Thornton
TWF Slee & Lee
Chartered Accountants
Denise Wadley
Joy Wearne
GC & R Weir
Harley & Penelope Whitcombe
Kathy White
Sally Willis
Sir Robert Woods cbe
Michael Zimmerman
Brian Zulaikha
Anonymous (30)
40
Mr Guido Belgiorno-Nettis am
Chairman,
Australian Chamber Orchestra
Mr Matthew Allchurch
Partner,
Johnson Winter & Slattery
Mr Philip Bacon am
Director,
Philip Bacon Galleries
Mr David Baffsky ao
Mr Marc Besen ac &
Mrs Eva Besen ao
Mr John Borghetti
Chief Executive Officer,
Virgin Australia
Mr Craig Caesar
Mrs Nerida Caesar
CEO, Veda
Mr Michael &
Mrs Helen Carapiet
Mr John Casella
Managing Director,
Casella Family Brands
(Peter Lehmann Wines)
Mr Michael Chaney ao
Chairman,
Wesfarmers
Mr & Mrs Robin Crawford am
Rowena Danziger am
& Kenneth G. Coles am
Mr David Evans
Executive Chairman,
Evans & Partners
Mr Bruce Fink
Executive Chairman,
Executive Channel International
Mr Angelos Frangopoulos
Chief Executive Officer,
Australian News Channel
Mr Daniel Gauchat
Principal,
The Adelante Group
Mr James Gibson
Chief Executive Officer,
Australia & New Zealand
BNP Paribas
Mr John Grill ao
Chairman,
WorleyParsons
Mrs Janet Holmes à Court ac
Mr Simon &
Mrs Katrina Holmes à Court
Observant
LJ Hooker
Mr Andrew Low
Mr David Mathlin
Ms Julianne Maxwell
Mr Michael Maxwell
Ms Naomi Milgrom ao
Ms Jan Minchin
Director,
Tolarno Galleries
Mr Jim &
Mrs Averill Minto
Mr Alf Moufarrige ao
Chief Executive Officer,
Servcorp
Mr John P Mullen
Chairman, Telstra
Mr Ian Narev
Chief Executive Officer
Commonwealth Bank
Ms Gretel Packer
Mr Robert Peck am &
Ms Yvonne von Hartel am
peckvonhartel architects
Mr Mark Robertson oam &
Mrs Anne Robertson
Mrs Carol Schwartz am
Ms Margie Seale &
Mr David Hardy
Mr Glen Sealey
Chief Operating Officer,
Maserati Australasia & South Africa
Mr Tony Shepherd ao
Mr Peter Shorthouse
Senior Partner,
Crestone Wealth Management
Mr Noriyuki (Robert) Tsubonuma
Managing Director & CEO,
Mitsubishi Australia Ltd
The Hon Malcolm Turnbull mp
& Ms Lucy Turnbull ao
Ms Vanessa Wallace &
Mr Alan Liddle
Mr Peter Yates am
Deputy Chairman,
Myer Family Investments Ltd
& Director, AIA Ltd
Mr Peter Young am &
Mrs Susan Young
A C O C H A I R M A N ’ S C O U N C I LThe Chairman’s Council is a limited membership association which supports the ACO’s international touring program and enjoys private events in the company of Richard Tognetti and the Orchestra.
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THE ACO THANKS OUR GOVERNMENT PARTNERS FOR THEIR GENEROUS SUPPORT
A C O G O V E R N M E N T P A R T N E R S
The ACO is supported by the NSW Government through Create NSW.
The ACO is assisted by the Australian Government through the Australia Council, its arts funding and advisory body.
A C O C O M M I T T E E SHeather Ridout ao (Chair) Director, Reserve Bank of Australia
Guido Belgiorno-Nettis am Chairman, ACO
John Kench Johnson Winter & Slattery
Jason Li Chairman, Vantage Group Asia
Jennie Orchard
Peter Shorthouse Senior Partner, Crestone Wealth Management
Mark Stanbridge Partner, Ashurst
Paul Sumner Chief Executive Officer, Mossgreen
Alden Toevs Group Chief Risk Officer, CBA
SYDNEY DEVELOPMENT COMMITTEE
Peter Yates am (Chair) Deputy Chairman, Myer Family Investments Ltd & Director, AIA Ltd
Paul Cochrane Investment Advisor, Bell Potter Securities
Colin Golvan qc
Peter McMullin Chairman, McMullin Group
James Ostroburski CEO, Kooyong Group
Paul Sumner Chief Executive Officer, Mossgreen
Susan Thacore
MELBOURNE DEVELOPMENT COUNCIL
Morwenna Collett CEO, Accessible Arts
Paul Nunnari Manager, Event Access & Inclusion NSW Government
Ebru Sumaktas Senior HR Officer, Department of Family and Community Services
Alexandra Cameron-Fraser Chief Operating Officer, ACO
Sally Crawford Patrons Manager, ACO
Vicki Norton Education Manager, ACO
Dean Watson Customer Relations & Access Manager, ACO
DISABILITY ADVISORY COMMITTEE
SYDNEY
Liz Lewin (Chair)Jane AdamsLillian ArmitageLucinda CowdroySandra FermanJoAnna FisherEleanor GammellFay Geddes
Deb HopperLisa Kench Karissa MayoElizabeth McDonaldRany MoranJohn TabernerLynne Testoni
BRISBANE
Philip BaconKay BryanAndrew CloustonDr Ian Frazer ac & Mrs Caroline FrazerCass George
Wayne Kratzmann Shay O’Hara-SmithMarie-Louise TheileBeverley Trivett
EVENT COMMITTEES
P E E R R E V I E W P A N E L SZoe ArthurJohn BensonHelen Champion
Jane DavidsonJared Furtado
Theo KotzasLyn Williams oam
EDUCATION PEER REVIEW PANEL
Yarmila AlfonzettiElaine ArmstrongToby ChaddJane Davidson
Alan DodgeJim KoehneSiobhan Lenihan
Marshall McGuireKatie NoonanJohn Painter am
Anthony PelusoMary Vallentine ao
Lyn Williams oam
ARTISTIC PEER REVIEW PANEL
42
A C O P A R T N E R SWE THANK OUR CORPORATE PARTNERS FOR THEIR GENEROUS SUPPORT
42
A C O P A R T N E R SWE THANK OUR CORPORATE PARTNERS FOR THEIR GENEROUS SUPPORT
39
A C O P A R T N E R SWE THANK OUR CORPORATE PARTNERS FOR THEIR GENEROUS SUPPORT
PRINCIPAL PARTNER
PRINCIPAL PARTNER: ACO COLLECTIVE
NATIONAL TOUR PARTNERS
OFFICIAL PARTNERS
CONCERT AND SERIES PARTNERS
MEDIA PARTNERS EVENT PARTNERS
A C O P A R T N E R SWE THANK OUR PARTNERS FOR THEIR GENEROUS SUPPORT
ACO-174 Intimate Mozart_01Jun.indd 39 8/06/2017 8:46 amACO-174 Intimate Mozart_13Jun.indd 42 14/06/2017 7:41 am
43
A C O N E W S
The ACO was delighted to return to Voyages Ayers Rock Resort on Anangu Country for the Uluru Festival at the beginning of June. This year, the Orchestra was joined by one of the country’s finest vocal ensembles, the Gondwana Indigenous Children’s Choir (GICC), as well as singing sensation Greta Bradman for the two-day Festival.
In preparation for these concerts, our Chief Operating Officer Alex Cameron-Fraser and Gondwana Choirs’ Artistic Director & Founder Lyn Williams travelled to the Mutitjulu community to meet with Anangu traditional owners. We are very grateful to the community for their warm welcome.
During the Festival, members of the Choir and a representative of the Orchestra travelled out to the Mutitjulu community for a BBQ and an impromptu concert. Members of the ACO and the GICC also performed for local students at Nyangatjatjara College in Yulara.
This September ACO Collective with Artistic Director Pekka Kuusisto will play with the GICC in Cairns.
The ACO is proud to acknowledge NAIDOC Week in 2017 and notes the special place, cultures and contributions of the first Australians.
PICTURED: GICC members with the ACO’s Glenn Christensen and Julian Thompson at Nyangatjatjara College in Yulara. Photo by Lyn Williams.
PICTURED: Gondwana National Indigenous Children’s Choir members at Voyages Ayers Rock Resort, Yulara. Photo by Lyn Williams.
U L U R U F E S T I VA L
44
A C O N E W S
M E D I C I A N D M A J O R PAT R O N S ’ D I N N E ROn 1 May we welcomed guests to the stunning Vaucluse home of Rena Shein and David Hendler for our annual Medici and Major Patrons’ Dinner.
The Peter Stutchbury-designed house provided a wonderful setting for a sextet performance led by Richard Tognetti that included movements from Tchaikovsky’s Souvenir de Florence and the Brahms sextet in G major, along with a spirited rendition of the overture from Mozart’s Marriage of Figaro arranged for sextet. The guests then sat down to a Moroccan-themed meal surrounded by an eclectic art collection.
ABOVE: Rena Shein, David Hendler, Michelle Belgiorno-Nettis and Guido Belgiorno-Nettis am.
BELOW: Este Darin-Cooper, Clare Crawford, Robin Crawford am
ABOVE: Luca Pirrello, Rachel Peck, Jeanne-Claude Strong.
45
ABOVE: Guido Belgiorno-Nettis am.
RIGHT: Guido Belgiorno-Nettis am, Richard Evans, Sharon Lee and Anthony Lee.
BELOW LEFT: Jessica Read, Di Jameson, Suzanne Maple-Brown.
BELOW RIGHT: Yvonne von Hartel am, Mark Ingwersen, Daniel Gauchat.
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*Conditions apply. Price per person twin share strictly limited and subject to availability. Early payment discount of $300 is ap-plied where full payment is due by 31 October 2017 . Price is based on FRAC191018, category E (no balcony), correct as of 24 May 2017. For full terms and conditions refer to scenic.com.au/terms. Scenic ABN 85 002 715 602. SNMA206
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12
FRAC
SNMA196 ACO_MozartSchumannProg_FRAC_FP_FINAL.indd 1 26/05/2017 4:46 PM
jewishmuseum.com.au
A very special fundraiser Monday 21 August, 2017 at 7pm
A night of classical music like you’ve never experienced before
Don’t miss this extraordinary evening with Richard Tognetti and the Australian Chamber Orchestra.
On Monday 21 August the ACO will perform for the first time at the beautiful St Kilda Synagogue, to raise funds for the Jewish Museum of Australia, Gandel Centre of Judaica. All ticket income will go to support the Jewish Museum.
Violinist, conductor, and composer Richard Tognetti will lead a breathtaking performance, featuring his famous ‘The Lark Ascending’ by Vaughan Williams and beloved works by Mendelssohn and Ravel.
Tickets
Premium package $185 (Concert ticket + post-concert cocktail party at the Jewish Museum with Richard Tognetti and the ACO musicians following the performance)
A Reserve $115
Restricted viewing $85
BOOK NOW www.trybooking.com/284915
Lead Patron Patrons Marc Besen AC & Eva Besen AO
Supporters The Ostroburski Family Julie Steiner
Friends Leo & Mina Fink Fundjewishmuseum.com.au
A cinematic and musical odyssey, directed by Jennifer Peedom, with music by Richard Tognetti and the ACO. Narrated by Willem Dafoe.
PRINCIPAL PARTNER
TICKETS FROM $56 | ACO.COM.AU | 1800 444 444 (MON–FRI , 9AM–5PM AEST) Transaction fees apply. Subject to availability.
Mountain is produced by Stranger Than Fiction Films in association with Camp 4 Collective and
Sherpas Cinema.
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“ONE OF T HE W ONDE R S OF T HE MU S IC A L W OR L D
THE GUARDIAN (UK) ON THE ACO
”
“A S A FA R I IN T O T HE S UBL IME .” THE GUARDIAN